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JASON LUJAN<br />
CHIRICAHUA APACHE<br />
NEW YORK, USA<br />
CONCEPTUAL ARTIST<br />
VISITING ARTIST, 2005<br />
My art serves a<br />
means to both<br />
control and release<br />
my identity as an<br />
Indian. It’s not so<br />
much a reflection <strong>of</strong><br />
cultural values as<br />
a narrative <strong>of</strong> how<br />
and what Native<br />
culture could look<br />
like once it escapes<br />
<strong>the</strong> boundaries<br />
<strong>of</strong> traditionalism and<br />
parochialism.<br />
64<br />
My participation with <strong>the</strong> NAP allowed me<br />
to experience indigenous material pasts<br />
within contemporary contexts. I handled<br />
ancient objects and considered <strong>the</strong>m not<br />
for <strong>the</strong>ir original virtues, but for what<br />
purpose <strong>the</strong>y served now. The comparisons<br />
between <strong>the</strong> objects and myself, as a<br />
person (with all that <strong>the</strong> term <strong>American</strong><br />
Indian implies), has intensified my desire to<br />
create, create, create.<br />
I want to produce a body <strong>of</strong> work that<br />
reminds <strong>the</strong> audience that Native objects<br />
seen and presented in museums are being<br />
presented outside <strong>of</strong> <strong>the</strong>ir original context.<br />
In <strong>the</strong> museum environment Native objects<br />
are disconnected from <strong>the</strong>ir makers’ original<br />
intent. Generally, museum audiences tend<br />
to view cultural objects within <strong>the</strong> frame-<br />
work <strong>of</strong> <strong>the</strong> institution, in a rarified status<br />
that becomes perceived as being <strong>the</strong>ir natural<br />
state. I want to illustrate <strong>the</strong> impossibility<br />
<strong>of</strong> speaking au<strong>the</strong>ntically about <strong>the</strong> Indian<br />
experience in this environment.